THE SUMMA THEOLOGICA OF
ANTONINO PIEROZZI : A BOOK
HISTORY
Melissa Morris
Chainy Folsom
Nathan Oyler
Jeff Rydberg-Cox
Virginia Blanton
CODICES OCCASIONAL PAPERS.
UNIVERSITY OF MISSOURI-KANSAS CITY
NUMBER 1. APRIL 2015.
1
TABLE OF CONTENTS
Summa theologica
Author
Contents
Audiences
Manuscripts & Editions
Codicology & Paleography
Catalogue Entry
Printer
Colophons
Collation
Type
Script
Illustration & Decoration
Paper & Watermarks
Assembly & Binding
Provenance
Engelberg Abbey
Conception Abbey
The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
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Summa theologica
Author
Concerned with instructing priests on preaching and their pastoral duties,
the Dominican friar Antonino Pierozzi (1389-1459) wrote his Summa
theologica over a period of fourteen years, 1440-1454.1 During this
period, Pierozzi, more commonly known as Antoninus, actively
participated in the Italian church, serving as the prior of the Observants
of San Marco (1436-1444), the Vicar General of the Observants in Italy
(1436-1445), and Archbishop of Florence (1445/6-1459).2
In compiling a summa, which is a compendium of theology, philosophy,
and canon law, Antoninus created a practical guide for the clergy,
covering issues related to confession, sin, the Bible, and simony.3
Antoninus died shortly after finishing the Summa theologica on 2 May
1459.4 Since he was a beloved archbishop, efforts to canonize Antoninus
began shortly after his death with the composition of a vita by Francesco
da Castiglione in 1460.5 Adrian VI canonized Antoninus on 31 May 1523
as a result of the admiration he inspired and posthumous miracles he is
said to have performed.6
Contents
A prolific writer during his lifetime Antoninus, penned a number of
treatises, both for private and public audiences, on how to live a virtuous
1
Peter Francis Howard, Beyond the Written Word: Preaching and Theology in the
Florence of Archbishop of Antoninus 1427-1459 (Florence: Leo S. Olschki Editore, 1995),
1, 30.
2
Howard, Beyond the Written Word, 30.
3
Ronald C. Finucane, Contested Canonizations: The Last Medieval Saints, 1482-1523
(Washington, D.C.: Catholic University of America Press, 2011), 174.
4
Finucane, Contested Canonizations, 177.
5
Finucane, Contested Canonizations, 177. See also Sally J. Cornelison, Art and Relic Cult
of St. Antoninus in Renaissance Florence (Farnham: Ashgate, 2012).
6
Finucane, Contested Canonizations, 202.
The Summa Theologica of Antonino Pierozzi : A Book History
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life.7 He collated these tracts along with material from his sermons to
form the Summa theologica as a pastoral manual.8 A summa is a
compendium of theology, philosophy, and canon law. One of the most
famous was produced by Thomas Aquinas between 1265 and 1274.
Antoninus’ version, which was produced specifically for Dominicans in
the context of the fifteenth-century reforms, focused on how clergy were
to aid their parishioners, even as it provided details of a good life for
readers.9
Audiences
Writing at a time of reform and renewal within both the Dominicans and
the Roman Catholic Church, Antoninus first aimed at creating a better
educated clergy that could effectively lead their parishes, but he also
wrote to edify the laity, especially women.10 Texts such as the Regola di
vita cristiana (Dello stato vedovile), written for Ginervra de’ Cavalcanti in
1441, and the Opera a ben vivere, written for Dianora and Lucrezia
Tornabuoni in 1455, did not circulate widely and as a result, only one or
two manuscripts of these works survive.11 Antoninus’ smaller works
designed to instruct laity on specific principles were prolific and appealed
to a large audience. Antoninus incorporated these more popular tracts
into the Summa theologica.12 As a leader in Florence, Antoninus often
found inspiration to write some pieces about particular situations. One
such tract, the Tractatus de ornatu mulierum, addressed the case of a
Franciscan who refused an artisan absolution because the man
manufactured “frivolous accessories” for women.13 Although inspired by
specific circumstances, Antoninus phrased these writings in more general
7
Howard, Beyond the Written Word, 5, 19.
8
Howard, Beyond the Written Word, 54, 71-72.
9
William A. Hinnebusch, O.P., “Renewal and Reform in the Fifteenth Century,”
Dominican Friars, Central Province. 1975, accessed March 3, 2014,
http://domcentral.org/blog/renewal-and-reform-in-the-fifteenth-century/.
10
Howard, Beyond the Written Word, 54-55.
11
Stefanie Solum, “Attributing Influence: The Problem of Female Patronage in FifteenthCentury Florence,” The Art Bulletin 90, no. 1 (2008): 91, and Howard, Beyond the
Written Word, 20.
12
Howard, Beyond the Written Word, 21.
13
Thomas M. Izbicki, “The Origins of the De ornatu mulierum of Antoninus of Florence,”
MLN 119, no. 1 (2004): S143.
The Summa Theologica of Antonino Pierozzi : A Book History
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terms, making them useful to Christian society at large. The instructions
on how to live a virtuous life were practical in nature and appealed to the
public for developing their personal devotion, telling individuals what to
believe and how to behave.14 Since they addressed multiple audiences,
both lay and clerical, female and male, the writings of Antoninus became
popular for instruction and for self-edification in fifteenth-century
Florence. The intent was to help mediate between the theology of the
church and the lives of men and women as they lived in specific social,
economic, and political contexts.15 This practical combination of theology
and moral values, along with the advent of the printing press, enabled
the Summa theologica to spread beyond its initial audience of
Dominicans and the clergy to the larger public of Florence. In time, the
manual spread widely to readers across Europe.
Antoninus and his Summa theologica influenced later religious
philosophers as they penned treatises of their own. Records exist that
suggest clergymen, governors, and private individuals requested copies
of this Summa theologica. The Florentine Provincial Synod of 1517 even
required that the clergy both possess and study a summa, or
compendium of theology, philosophy, and canon law. This requirement
increased demand for Antoninus’ version.16 As a result, priests regularly
utilized the Summa theologica as a pastoral manual as Antoninus
originally intended. Later Franciscan and Dominican authors examined
the writings of Antoninus and credit the Summa theologica as a
foundational source. In one example, Silvester Mazolinus de Prierio,
author of the Summa summarum, acknowledged the eminent position of
the Summa theologica within the medieval summist tradition.17
Manuscripts & Editions
The advent of printing near the end of Antoninus's life encouraged the
wide-scale circulation of his writings, although some handwritten
manuscripts of the Summa theologica do survive. There exist three
14
Howard, Beyond the Written Word, 29.
15
Nicholas A. Eckstein, “The Widows' Might: Women's Identity and Devotion in the
Brancacci Chapel,” Oxford Art Journal 28, no. 1 (2005): 114.
16
Howard, Beyond the Written Word, 26.
17
Howard, Beyond the Written Word, 28.
The Summa Theologica of Antonino Pierozzi : A Book History
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manuscript sets that contain all four parts of the Summa, four copies that
contain volumes I and II, and two sets with III and IV.18 The first printing
of Antoninus’ Summa theologica occurred simultaneously in Venice 14771480 and in Nuremberg 1477-1479.19 Printing of this text continued, with
nine complete editions produced in the fifteenth century, and another
nine during the sixteenth century.20 Partial editions featuring specific
treatises contained within the Summa theologica were printed
separately.
Fifteenth- and sixteenth-century editions of Antoninus’ Summa theologica:21
1477-1480
Venice, Nicolaus Jenson^
1477-1479
Nuremberg, Anton Koberger
1480-1481
Venice, Leonardus Wild and Reynaldus de Novimagio
1485
Basel, Michael Wenssler
1486-1487
Nuremberg, Anton Koberger
1487-1488
Speyer, Peter Drach
18
Howard, Beyond the Written Word, 22.
19
Howard, Beyond the Written Word, 25.
20
Howard, Beyond the Written Word, 25.
21
As listed in the British Library's Incunabula Short Title Catalogue:
http://istc.bl.uk/search/search.html?operation=record&rsid=37175&q=136. Surviving
copies of the Summa theologica are listed on the website. Entries marked with an
asterisk (*) are listed in H. M. Adams, Catalogue of Books Printed on the Continent of
Europe, 1501-1600 in Cambridge Libraries (Cambridge: Cambridge University Press,
1967). Entries marked with a caret (^) are listed in Frederick Richmond Goff, Incunabula
in American Libraries: A Third Census of Fifteenth-Century Books Recorded in North
American Collections (Millwood, NY: Kraus Reprint Co., 1973), no. A875. For details on
this edition, see also Ludwig Hain, Repertorium Bibliographicum, vol. 1, part 1 (Berlin:
Josef Altmann, 1925), no. 1246; Walter Arthur Copinger, Supplement to Hain’s
Repertorium Bibliographicum (London: Henry Southern, 1902), no. 518; and
Gesamtkatalog der Wiegendrucke, Statsbibliothek zu Berlin,
http://www.gesamtkatalogderwiegendrucke.de/GWEN.xhtml, no. 02189. The most
complete list of editions of the Summa theologica, printed in whole and in part, from
the fifteenth to the eighteenth centuries can be found in P. Stefano Orlandi O. P.,
Bibliografia Antoniniana: Descrizione dei manoscritti della Vita e delle Opere di S.
Antonino O. P. Arcivescovo di Firenze, e degli Studi stampati che lo riguardano (Città del
Vaticano: Tipografia Poliglotta Vaticana, 1961), 295-305.
The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
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1490
Strasbourg, Johann Reinhard Grüninger
1496
Strasbourg, Johann Reinhard Grüninger
1500
Lyons, Johannes Clein
1503
Venice, Lazaro de' Soardis
1506
Lyons, Johannes Clein*
1511
Basel, Johann Amerbach and Peter Froben*
1516
Lyons, Johannes Clein*
1521
Paris, André Bocard, for Jean Petit
1529-1530
Lyons, Jacobus Mareschal, for Vincenti de Portonarius,
Melchior Trechsel, and Gaspar Trechsel*
1571
Venice, Juntam Bernardum et socios
1581-1582
Venice, Apud Juntas, edited by Fr. Ludovico Rubeo veneto
Ss. Johannis et Pauli alumno*
1591
Venice, Apud Juntas
Codicology & Paleography
Catalogue Entry
Antoninus, Summa theologica in IV parts, with a Tabula (Volume V) by
Johannes Molitoris. ISTC No. : ia00875000
Nuremberg: Anton Koberger, Volume I, 17 July 1486; Volume II, 28
August 1486; Volume III, 12 February 1487; Volume IV, 23 July 1486.
Brown calf over beechwood boards; original brass bosses on Volumes II,
III, and IV. Indication of two pairs of clasps on fore-edge catching on
upper cover on Volumes II, III, and IV. Volume I binding has been repaired
and the brass bosses have been removed.
Volume I: 290 x 418 x 80 mm. Volume II: 290 x 415 x 65 mm.
Volume III: 290 x 410 x 85 mm. Volume IV: 285 x 414 x 72 mm.
Provenance: Engelberg Abbey, Engelberg, Switzerland (15C-early 16C);
Conception Abbey, Conception, Missouri, USA (after 1873).
The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
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Although Anton Koberger (1440-1513) printed Antoninus’ Summa
theologica, Johannes Molitoris (1436-1475) composed a Tabula, or Table
of Contents, placed at the beginning of Volume I. Credited with
authorship of the Tabula in a colophon, Molitoris became closely
associated with this version of the Summa theologica.
Printer
One of the premiere printers in Europe in the fifteenth century, Anton
Koberger (1440-1513) had a significant impact on the publishing world,
and he printed the four volumes of the Summa theologica used in this
project in Nuremberg in 1486-1487.22 The first of his family to become a
printer, Koberger established his printing shop in Nuremberg in the early
1470s, taking on ambitious projects such as Boethius’ De consolation
philosophiae in 1473 and the Latin Bible.23 Successful in his printing
ventures, Koberger established a large workshop for printing, made up of
three adjoining buildings, housing up to twenty-four presses and
employing more than 100 journeymen.24 The size of such a printing
workshop meant that Koberger needed to expand his business beyond
the walls of Nuremberg. Koberger established a publishing, printing, and
bookselling business that became the largest in Europe, with agents
established in France, England, Italy, and Spain.25
Surviving evidence does not explain the totality of book production in
Koberger’s workshop, but it may have produced either unbound quires,
bound incunabula, or a combination of both, depending on the printing
and intended customer. At the beginning of the publication process,
Koberger acquired a number of existing book manuscripts in order to
choose the best version of the text.26 Although it is unknown which
manuscripts, or exemplars, that Koberger used to compile this edition of
the Summa theologica, early printers routinely worked with monastic
libraries to obtain manuscripts. While working on the publication of a
seven-volume edition of the Bible with Hugo de Sancto Charo's
22
Christoph Reske, “The Printer Anton Koberger and his Printing Shop,” GutenbergJahrbuch 76 (2001): 101.
23
Reske, “The Printer Anton Koberger and his Printing Shop,” 98.
24
Reske, “The Printer Anton Koberger and his Printing Shop,” 100.
25
Adrian Wilson, The Making of the Nuremberg Chronicle (Amsterdam: A. Asher., 1976),
43, 177.
26
Wilson, The Making of the Nuremberg Chronicle, 176.
The Summa Theologica of Antonino Pierozzi : A Book History
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commentary, Koberger wrote in 1497 to his collaborator Johann
Amerbach of the manuscripts obtained from Maulbronn.27 In a later
letter, Koberger additionally wrote to Amerbach that the Abbot of
Heilsbronn complained of the condition of the manuscripts returned by
the two printers.28 Such correspondence demonstrates that Koberger and
Amerbach shared exemplars, at least on the projects that they printed
together. Separate correspondence sent to Amerbach by Alexius Stab,
the curator of the library of St. Blasien, suggests the willingness of the
Benedictine abbey to lend manuscripts to the printer.29
Koberger’s printing empire, which made him one of the wealthiest men
in Nuremberg, ended in 1504 when he closed the press.30 During his
operation, Koberger produced more than 220 titles, mostly in Latin, that
focused on texts of history, philosophy, law, and theology.31 Printed in
Latin and German editions in 1493, the Nuremberg Chronicle remains the
most recognizable of Koberger’s printed books today.32
During the fifteenth and sixteenth centuries, booksellers regularly
marketed Antoninus’ Summa theologica. Koberger armed traveling
salesmen with a prospectus of books in stock that specifically praised the
attributes of this text and urged laity to purchase it by insisting that “all
men who value their salvation should have it in their house.”33 Similarly,
other booksellers recognized the popularity of the Summa theologica and
kept copies on their shelves, restocking when necessary. The printers’
willingness to keep copies of Antoninus’ compendium on hand, rather
than printing on demand, is some indication of the work’s popularity
among buyers. That multiple editions of this summa appeared
27
Barbara Halporn, “Libraries and Printers in the Fifteenth Century,” The Journal of
Library History (1974-1987) 16, no. 1 (1981): 138.
28
Halporn, “Libraries and Printers in the Fifteenth Century,” 138.
29
Halporn, “Libraries and Printers in the Fifteenth Century,” 136.
30
Reske, “The Printer Anton Koberger and his Printing Shop,” 101, 103.
31
Reske, “The Printer Anton Koberger and his Printing Shop,” 101.
32
Wilson, The Making of the Nuremberg Chronicle, 9, 175.
33
Wilson, The Making of the Nuremberg Chronicle, 178.
The Summa Theologica of Antonino Pierozzi : A Book History
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throughout the later fifteenth and early sixteenth century confirm its
attraction to buyers and readers.
Alexius Stab, the librarian at St. Blasien, which is associated with
Conception Abbey’s mother house, Engelberg, eagerly worked with
Johann Amerbach in supplying manuscripts for printing; in return for
their generosity librarians typically desired to receive a complimentary
copy of the incunable which their manuscript helped to create.34 St.
Blasien and Engelberg Abbey possess an intertwined history and
maintained a working relationship throughout the Middle Ages.35 This
relationship may have facilitated the exchange of manuscripts, and later
incunabula, between the two monasteries.
Colophons
Colophons at the end of the Tabula and each of the four volumes identify
Antoninus as author and Anton Koberger as printer, as well as Johannes
Molitoris as the compiler of the Tabula. Since the whole work was
printed over a period of eight months, individual colophons document
the date each volume was completed. As is typical, the colophons are
located at the end of each volume, with the exception of the colophon
for the Tabula in Volume I. This colophon follows the text of the Tabula,
signifying its end before the work commences; a second colophon ends
Volume I. Transcriptions of these colophons appear below.
Summa theologica, Tabula, Colophon, 98v.
Tabula quintuplex totius Summe venerabilis domini Antonini compilata
per dominum Johannes molitoris fratrem ordinis predicatorum conuentus
coloniensis. Impressa ac iterum atque iterum a nouo emendata in officina
sagacis viri Anthonii koberger Nurembergensis Anno legis gratie
Millesimo quadringentesimo octuagesimo sexto. die vero. x. kalendas
Augusti.
Laus deo.
34
Halporn, “Libraries and Printers in the Fifteenth Century,” 136-140.
35
Blaise Turck, O.S.B., Founding the Monasteries of Rheinau, St. Blasien, Muri, and
Engelberg (St. Benedict, OR: Mt. Angel Abbey, 2001), 49.
The Summa Theologica of Antonino Pierozzi : A Book History
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Summa theologica, Volume I, Colophon, 285v.
hic prime partis Summe Antonini. ordinis predicatorum fratris clarissimi :
archipresulis florentini finis extat. solerti cura emendate. opera ac
impensis Anthonii koberger Nuremberg impresse: Millesimo
quadringentisimo36 octuagesimo sexto currente natiuitatis dominice
anno. xvi. vero kalendas Augusti. unum deo omnium donanti. gratiarum
infinitas (iuxta modulus nostrum) referimus actonnes.
Obiit idem sacre scripture interpres. Anno legi gratie: Millesimo
quadringentesimo37 quinquaegesimo nono. vi. nonas Maii . cuius
epithaphium sepulture hoc est affixum.
Hic est ille tuus pastor florentia : pro quo
Non cessas mesto spargere rore genas.
Patribus haud priscis. pietate Antoninus.
Impar: qui scripsit quicquid38 litera sacra docet.
Summa theologica, Volume II, Colophon, 237v.
Anno incarnationis dominice. Millesimo quadringentesimo
octuagesimosexto. Septembris vero kalendas. v. Pars summe secunda
Antonini Archiepiscopi florentini. ordinis predicatorum eruditissimi
Nurenberge per Anthonius koberger oppidi præfatii incolam quam
diligentissime impressa. finit feliciter.
Summa theologica, Volume III, Colophon, 315r.
Pars summe tercia inclyti Antonini. florentini archiepiscopi sacre pagine
interpretis eximii. Accuratissime per Anthonius koberger Nurembergensis.
incolam his ereis figuris impressa. Anno salutis. M. cccclxxxvi. mensis vero
decembris. kalendas. xiiii. finit feliciter.
36
The correct spelling of this word should be “quadringentesimo.” Here in this
colophon, it is printed incorrectly as “quadringentisimo.”
37
Here the spelling of the word is correct.
38
The correct spelling of this word should be “quidquid.” Here in this colophon, it is
printed incorrectly as “quicquid.”
The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
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Summa theologica, Volume IV, Colophon, 255v.
Obiit ipse Antoninus vir consiliorum clarissimus romane urbis olim auditor
causarum : tunc archipresul florentinus. ordinis predicatorum
obseruantialis professor. Anno dominice incarnatonis
Millesimoquadringentesimoquinquiagesimono. in vigilia ascensionis. ii.
maii: miraculis clarens. Cuius preconia indies augentur ex salutari eius
doctrina. summatim in epithauio suo congesta videlicet.
Hic est ille tuus pastor florentia : pro quo.
Non cessas mesto. spargere rore genas.
Patribus haud priscis. pietate Antonini impar.
Qui scripsit quicquid39 litera sacra docet.
Quarta pars summe. excellentissimi. diuinissimi. seraphicique Antonini :
florentinenis. quondam archiepiscopi. sacrarum literarum interpretis
fidelissimi. miris modulis variis in punctis auspicacissime emendata quad
possibile humanis solertiis extiterat: rursusque disertissime perspecta.
Expensis attamen operaque laboriosa. Nec non singulari peruigilique cura
spectabilis viri Anthonii kobergers Nurenbergensis. incole atque conciuis.
In singulare perconium sancte & indiuidue trinitatis. totiusque celestis
curie laudem. Presertim atque in maius presidium orthodoxe
immarcescibilisque fidei catholice. his eneis characteribus effigiata.
consummata & perfecta Anno salutis Millesimo quadringentesimo
octuagesimoseptimo Idus vero. ii. mense Februarii.
Collation
Koberger printed the four volumes of the Summa theologica in a uniform
manner, creating a cohesive set. All four of the volumes possess a
combination of signatures that are 6 folios and 8 folios in length.Volume I
contains 44 signatures total, which vary in length between 6 and 8 folios.
The Tabula, often referred to as Volume IV in the scholarship on this
edition of the Summa theologica but which is bound with Volume I of our
set, begins and ends with signatures that contain 8 folios. The text of
Volume I also begins and ends with signatures that contain 8 folios.
Volume II consists of 39 signatures, and like Volume I and the Tabula,
39
The correct spelling of this word should be “quidquid.” Here in this colophon, it is
printed incorrectly as “quicquid.”
The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
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opens and closes with signatures that are 8 folios in length. All of the
interior folios in Volume II have 6 folios. Volume III contains the most
signatures of the set with 53 signatures. All of the signatures in Volume III
are 6 folios in length, except for the final signature which has 8 folios.
Volume IV consists of 42 signatures and returns to the pattern
established in the first two volumes, opening and closing with signatures
that are 8 folios in length. The interior folios of Volume IV all contain 6
folios.
Volume V (Tabula): 100 Bl. [a8b-p6q8]
Volume I: 186 Bl. [a-g8h6i8k-zA-D6E8]
Volume II: 240 Bl. [a8b-zA-M6N8O-P6Q8]
Volume III: 320 Bl. [a-zA-Zaa-ff6gg8]
Volume IV: 256 Bl. [a8b-zA-S6T8]
Type
Koberger is well known for creating his own fonts, and for the Summa
theologica he utilized a rotunda font, identified as Koberger Type number
16 by Christoph Reske.40
The print block consists of two columns on each page, measuring in total
186 x 293 mm. Individual columns measure 85 x 293 mm, with 17 mm
between the two. Situated at the top of the page between the two
columns, larger font headings signify the section of text included on
individual pages. Twenty lines of text measures 83 mm.
Script
Marginalia, or handwritten notes, comments, and glosses, appear in each
of the four volumes, marking a section of text that a reader believed was
important. Underlining of text occurs in a few instances, and is largely
accompanied by notes in the margin.
40
Christoph Reske, “Eine neue Entdeckung zur Druckgeschichte der Schedelschen
Weltchronik: Eine Analyse,” Gutenberg-Jahrbuch 72 (1997): 96.
The Summa Theologica of Antonino Pierozzi : A Book History
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Illustration & Decoration
Materials utilized in the illumination of letters indicate the status or
wealth of the intended owner. The four volumes contain nine, large
illuminated letters spread throughout. Red, blue, green, mauve, and gold
leaf dominate in the ink colors used in decorating these letters. The
illuminated letters are written in a Lombard script. Hand flourishes and
drawings accompany three of these illuminated letters in the margins.
In addition to these large illuminated letters, smaller Lombard letters
handwritten in red or blue mark the beginning of paragraphs throughout
the four volumes. Capital letters throughout are lined in red. Specifics of
each volume are detailed here.
The Tabula of Volume I begins on fol. 2r with an illumination of the letter
O in the word “odia.” The letter is located inside of a square, colored on
two sides by red and the top and bottom are colored in green. The letter
itself is colored in blue ink and is surrounded by gold leaf in the interior of
the square. The size of the illumination measures 34 x 32 mm, or eight
lines of text. A hand-drawn flourish of a vine in red and green decorates
the bottom left corner of the illuminated letter.
The main part of the Summa theologica opens with “Prohemium in hoc
opus,” and the illuminated letter O begins the text “Odam magnificata”
on fol. 102r. This illuminated letter is similar to the one in the Tabula.
Located in a square colored in green on two sides and red on the top and
bottom, the letter is colored in blue with a leaf design in white. The letter
is surrounded by gold leaf. The illuminated square measures 33 x 41 mm,
or ten lines of text. A flourish in blue and red ink decorates the lower left
side of the square. Likewise, the first chapter is distinguished by an
illuminated U on 104r. This illuminated letter begins the “Titulus primus,”
with “Uenite audiet et narrabo.” The letter is placed within a square
colored in blue on two sides and green on the top and bottom. The letter
is colored with gold foil and surrounded by mauve. Within the U is an
elaborate drawing of swirled white lines with blue leaves. The size of the
illumination measures 84 x 82 mm, or twenty lines of text.
Volume II contains two illuminations. The first appears in the “Prologus
secunde partis” at 2r. The letter U begins the phrase “Ud contribulasti.”
The Summa Theologica of Antonino Pierozzi : A Book History
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The letter is placed within a square colored on two sides in red, with the
top and bottom in blue. The letter, which is painted on gold leaf, is dark
green with a lighter green leaf pattern inside. The illumination measures
41 x 41 mm, or ten lines of text. The second illuminated letter appears on
5v, which opens the first chapter. The letter F begins the phrase “Filius
hominum usque quo graui corde ut quod diligitis.” The letter is located
within a square colored on two sides by red ink and on the top and
bottom with green ink. The F is penned in dark blue ink and a light blue
leaf pattern decorates the letter. The letter is surrounded by gold leaf
inside the square. The illumination measures 83 x 81 mm, or twenty lines
of text.
Illuminations in Volume III are similarly placed as those in Volume II: on
the first page of the Prologue, on fol. 2r, and the first page of the first
section, on fol. 7r. In the “Prologus tercie partis Summe,” the letter A
begins the phrase “Astitit regina a dextris.” The letter is located within a
square colored on two sides by green and the top and bottom by blue.
The letter itself is colored in mauve, with a leaf pattern that has largely
faded although some traces of the design remain. The letter is
surrounded by gold leaf. The illumination measures 43 x 39 mm, or nine
lines of text. The second illumination is located on “Titulus I.” The letter B
begins the phrase “Beatus es et bene tibi erit.” The letter is located
within a square colored by green on two sides and red on the top and
bottom. The letter is dark blue with a grey leaf decoration. As with
previous illuminations, the letter is surrounded by gold leaf. The interior
of the letter is decorated with gold leaf that has faded to grey, with a
pattern of diamonds and flowers. The illumination measures 83 x 82 mm,
or twenty lines of text.
An illuminated B in “Benedictonnem” begins the Prologue of Volume IV
on fol. 2r. The B is enclosed within a box colored on all four sides with
gold and two shades of green. The B itself is colored with mauve, and
inside the box, the letter is surrounded by gold leaf. The illumination
measures 42 x 46 mm, or eleven lines of text. Next to the illuminated
letter appears a hand drawn flourish in green. The flourish measures 22 x
143 mm. Capital letters are lined with red throughout the text, with
occasional red markings to signify the start of a new paragraph in the
text. On the “Titulus primus,” fol. 4r, an illuminated letter begins the
main content of Volume IV. The letter C is illuminated in a large square
colored in a block pattern on all four sides with two shades of red, two
shades of green, and gold. The letter is colored in two shades of blue,
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with floral drawings within the letter done in the lighter shade. Gold leaf
surrounds the letter inside the square. The illumination measures 87 x 74
mm, or eighteen lines of text. To the left of the illuminated letter is a very
elaborate drawing of vines and three suns along the margin. The vines
are colored in mauve, green, blue, yellow, and white. The suns are
colored in gold with small flourishes in green surrounding each. The
drawing measures 35 x 230 mm. Large four-line initials throughout divide
the text into sections. The markers alternate between red and blue, and
measure 18 x 15 mm.
Similar initials and flourishes appear in other books printed by Koberger,
suggesting an on-going partnership with a local painter or an in-house
production.41
Paper & Watermarks
Paper and print began in China before spreading to Europe, with the first
book being printed on paper in China by 868.42 Watermarks developed
later, invented in the late thirteenth century at one of the Fabriano Mills
in Tuscany.43 The Fabriano Mills produced paper of superior quality, and
the watermark was likely developed as a sign of that quality.44 Inspired by
the process of papermaking at the Fabriano Mills, a German merchant
brought the skill to Nuremberg in 1392.45
Individual leaves in Koberger’s 1486-1487 edition of the Summa
theologica measure 285 x 396 mm, though a number of shorter pages are
found in Volumes I, III, and IV. This indicates each sheet is 570 x 396 mm.
On average, the pages are 0.05 mm thick and were made of linen.
Concerned with quality, Anton Koberger consistently worked to create
41
Karl-Georg Pfändtner, “Ein Buchmaler für Anton Koberger?” Gutenberg-Jahrbuch 84
(2009): 251-268.
42
George Mandl, “Paper Chase: A Millennium in the Production and Use of Paper,” in A
Millennium of the Book: Production, Design & Illustration in Manuscript and Print 9001900, ed. Robin Meyers & Michael Harris (New Castle, DE: Oak Knoll Press, 1994), 181.
43
Mandl, “Paper Chase,” 181.
44
Mandl, “Paper Chase,” 182.
45
Abdul Ahad Hannawi, “The Role of the Arabs in the Introduction of Paper into Europe,”
MELA Notes, 85 (2012): 28.
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visually appealing books printed on well-made paper. Koberger
contracted with the Amerbach printing family in Basel on several large
projects during this time.46 In a letter addressed to Hans Amerbach on 20
September 1499, Koberger advised his associate to contact Friedrich
Brechter in Strasbourg to obtain quality paper.47 Additionally, Koberger
informed Amberbach that he should not print on paper that appeared to
be of inferior quality. Shortly after, in a second letter addressed to Hans
Amerbach on 8 November 1499, Koberger noted that Conrad Meyr and
Friedrich Brechter, Strasbourg area paper dealers, sent Amberbach thirtysix bales of paper from Strasbourg. 48 A bale of paper at the close of the
fifteenth century was made up of approximately five thousand sheets of
paper. Koberger’s 1499 shipment of thirty-six bales would be 180,000
sheets. To print ten copies of the 1486-1487 edition of the Summa
theologica would require more than a bale of paper.49
Papermakers often fashioned a design from wire to mark their paper.
These wire designs were affixed directly to a mesh screen that formed
the paper mold. During the paper making process the paper emulsion
thinned around the designs forming a watermark in the sheet of paper.
Researchers use watermarks to identify individual sheets of paper used in
print production. In some instances watermarks can assist in the
identification of papermakers. The papermaking mold, screens fashioned
from thin wire, left discernable traces that assist researchers in
identifying sheets used in making incunables. It is often possible to
discern the impression of the chain lines, made from slightly thicker wire,
used to support the thinner more numerous laid lines in the sheets of
paper produced in the mold.
Watermarks found in the 1486-1487 edition of the Summa theologica
indicate that Koberger utilized paper in bulk from a number of mills
purchased from paper dealers such as Meyr and Brechter. The
Conception Abbey Summa has 276 watermarks among its over one
46
Barbara C. Halporn, The Correspondence of Johann Amerbach: Early Printing in Its
Social Context (Ann Arbor: The University of Michigan Press, 2000), 5.
47
Halporn, The Correspondence of Johann Amerbach, 227.
48
Curt F. Buhler, “Last Words on Watermarks,” The Papers of the Bibliographical Society
of America, 67 (Spring 1973): 14.
49
Halporn, The Correspondence of Johann Amerbach, 227.
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thousand pages and pastedowns. More than a dozen different images are
represented in the Summa’s collection of watermarks.
A flower motif is utilized most often in the watermarks. Ninety-six of the
marks are a six-petal flower that measures approximately 40 mm in
diameter.50 All of the six-petal flowers appear to be of common origin
and very similar to Charles-Moise Briquet’s image 6502, a watermark he
notes found in the Anton Koberger’s 1486 edition of Durandus’ Speculum
judiciale.51 Six-petal flower watermarks are found in all four volumes of
the Summa and the Tabula. The watermark is the most common mark in
Volume I (seven of twenty marks), Volume III (forty-two of sixty marks),
Volume IV (thirty of eighty marks), and the Tabula (six of thirteen marks).
Watermarks with an eight-petal flower make the second largest
collection of marks. Flowers with eight petals constitute a group of
watermarks not a single design. While almost all the “eights” appear
similar to one another in shape and size, approximately 60 mm in
diameter, there are several different centers. Most “eights” have empty
centers, but some feature crossed centers, single line centers, and
centers with an offset “T” shape.52 Briquet states that paper with
watermarks similar to image 6602, a plain eight, and 6605, an eight with
a crossed center, are found in other works printed by Koberger.53 Flowers
with eight petals are found in Volumes II, III, IV, and the Tabula, but not
in Volume I.
Another flower mark found in Conception Abbey’s Summa is not found in
Briquet’s Les filigraines, a serrated six-petal flower with an offset “T” in
its center. These are approximately 50 mm in diameter. A total of
50
For an introduction to flowers in watermarks see Charles-Moise Briquet, Les
filigraines: Dictionaire historique des marques du papier des leur apparition vers 1282
jisqu’en 1600 (Mansfield Centre, CT: Maurizio Martino, reprint of 1923 Leipzig second
edition), “Fleur-Fleuron,” vol. 3 at 362-3. See Briquet , vol. 2, 369-372 for descriptions of
six-petal flowers (“Fleur a six petales”), images 6469-6551.
51
Briquet, Les filigraines, 370.
52
A general description of eight-petal flower marks is found in Briquet, Les filigraines,
(“Fleur a 8 petales”), vol. 2 at 373-5, images 6584-6616.
53
Briquet, Les filigraines, 374.
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eighteen serrated six-petal flowers are found in Volumes I, II, and the
Tabula. At least one each of a seven-petal flower (Volume II),54 and a
nine-petal flower (Volume III)55 are among the bouquet of watermark
flowers found in the Conception Abbey’s Summa. These watermarks are
similar in size to eight-petal flower marks. Other flower marks, barely
discernable under the print, petals uncounted, and centers obscured by
text, have not been identified.
A transitional image found in Conception Abbey’s Summa, a gothic capital
“R” spouting a five-petal flower, is found in Volumes III and IV. Nineteen
of the twenty-one “R”s are found in Volume III, the remaining two in
Volume IV. The “R” is approximately 30 mm wide and 60 mm from its
base to the top most petal. These “R”s are nearly identical and presumed
to be the mark of a single papermaking shop. Nothing approximating the
gothic “R” let alone a capital “R” with a flower is found in Briquet’s
compendium.56
There are twenty-one sheets with a hand or glove mark, with seven each
appearing in Volumes II, III, and IV, approximately 35 mm wide by 50 mm
tall. Briquet notes that Koberger used paper with a “hand” mark in 1486.
However, Briquet’s image, however, is not quite the same as found in
Conception Abbey’s Summa.57 This could be attributed to the inexactness
of Briquet’s method for recording watermarks or it might very well be a
different mark altogether.
Thirty “lamb” marks are found in the Summa under examination. These
are approximately 45 mm from tip of lamb’s tail to outer ring of lamb’s
halo and 45 mm from bottom of lamb’s hoof to top of the lamb’s staff.58
54
Briquet, Les filigraines, (“Fleur a 7 petales”), vol. 2, 372-3, images 6552-6583. Briquet
states that the watermark image 6562 is found in a work printed by Koberger.
55
Briquet, Les filigraines, (“Fleur a 9 petales”), vol. 2, 375, images 6617-6627. The
watermark image 6622 is found in Koberger’s work.
56
Briquet, Les filigraines, (“Lettre R.”), vol. 3 at 476-480.
57
Briquet, Les filigraines, (“I. Main ouverte, les cinq doights ecartes.”), vol. 3 at 544562, images 10630-11079. See image 10653 seen in 1486 edition of Durandus’
Speculum judiciale.
58
Briquet, Les filigraines, (“Agneau pascal’), vol. 1, 18-22, images 1-63. None of the
images in Briquet exactly match the “lamb” encountered in the Abbey’s Summa.
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This mark is found on paper used in Volumes III and IV. Of particular
interest, this mark is always found on paper with a rough uncut
unfinished bottom edge 9-15 mm shorter than all other paper used in
Conception Abbey’s Summa. These sheets are scattered at irregular
intervals in Volume III. In Volume IV sheets with the “lamb” watermark
make up the center bi-folio in each and every signature from signature y
to T. The sheets featuring the paschal lamb are not only different in size
but also different in color and texture from other sheets found in the
Summa.
There are other watermarks found in Conception Abbey’s Summa: a
wonderful radiant eleven-point sun,59 a single simple wheel with six
spokes,60 and an odd mark tagged “the curly cue.” Several pages appear
to have markings of some sort and have been flagged by the CODICES
team as potential watermarks requiring further study and examination.
The paper with a bull’s head watermark found on the front pastedown of
Volume I61 and the eagle watermark found on the pastedowns of Volume
IV62 are reused from previous Koberger printings.
Briquet mentions that the mark in image 24 was found in works printed in Nuremberg in
the 1480s but he does not mention works printed by Koberger. Image 14 is the closest
approximation of the image found in the Summa under examination but lacks the detail
and fineness found in the mark at hand.
59
Briquet, Les filigraines, (“Soleil”), vol. 4, 685-9, images 13903-13988. There are three
“sun” marks found in Volume III (two) and the Tabula. None of Briquet’s images
resemble the images found in the Summa at hand. Each of the suns in Conception
Abbey’s Summa has two crossed curved lines inscribed in its center. A CODICES
member named this feature the “basketball.” Resolution of the detail of the center
requires further examination.
60
Briquet, Les filigraines, (“Roue”), vol. 4, 655-7, images 13221-13234. Images 13221-2
are a near match for the wheel but predate Conception Abbey’s Summa by nearly a
century.
61
Briquet, Les filigraines, (“Tete de Bouef”), vol. 4, 715-776, images 14096-15486. Bull’s
heads must constitute one of the largest groups of images in Briquet’s dictionary. The
images most like the bull’s head of the Summa’s pastedown are found in 15152-15185
with image 15164 the closest match in the dictionary.
62
Briquet, Les filigraines, (“Aigle”), vol. 1, 22-35, images 64-340. “Eagles” are another
large number of images described in the dictionary. Briquet states that Koberger used
paper bearing an “eagle” mark similar to image 72 in 1474. This image bears no
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The watermarks found in Conception Abbey’s copy of the Summa
theologica indicate that Anton Koberger used paper from a number of
different papermakers. Unfortunately none of these papermakers are
identified in either primary or secondary sources and the location of their
workshops remain unknown. Briquet suggests many of these
papermakers could be located in northern Italy or southwest France.
Though Strasbourg and Nuremberg were centers of papermaking in the
late fifteenth century none of the watermarks are known to originate
from either location. The correspondence between Anton Koberger and
Hans Amerbach tell us that Koberger obtained paper from dealers that
acted as wholesalers, purchasing supplies from papermakers and selling
large quantities of paper to printers.
Members of the CODICES project are currently searching watermark
catalogs, in an effort to identify papermakers used by Koberger. The team
is cataloging each sheet of paper used in the Abbey’s Summa with
particular attention paid to the spacing of chain and laid lines, and the
location of watermarks in relation to these lines. Such measurements are
necessary to identify the individual molds used in the making a sheet of
paper. Most sheets used in the Summa bear no watermark. If these
unmarked sheets were part of a larger sheet made in a mold with a
watermark it is possible to match the chain and laid lines to those of a
marked sheet. The chain and laid lines formula will serve as an identifier
if the unmarked sheets cannot be matched to a marked sheet.
Assembly & Binding
The faster production of books following the introduction of the printing
press greatly increased the number of texts that needed covers. To keep
up with the demand, fifteenth-century binders compromised on the
quality of their work, creating inferior quality ‘publisher’s bindings.’63
Binders in Nuremberg specifically utilized publisher’s bindings in their
resemblance to the pastedown in Volume IV of the Summa. Similar images, but no clear
match, are found in the images 81-92.
63
Nicholas Pickwoad, “Onward and Downward: How Binders Coped with the Printing
Press Before 1600,” in A Millennium of the Book: Production, Design, & Illustration in
Manuscript & Print 900-1900, ed. Robin Myers and Michael Harris (New Castle, DE: Oak
Knoll Press, 1994), 62.
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work beginning in the 1480s as a direct result of the voluminous
production of Koberger’s presses.64 Yet clients still demanded luxury in
the bindings of books, forcing binders to create a solution between quick
production and quality work. Bindings affixed during the second half of
the fifteenth century demonstrate the variety of bindings, ranging from
simple, cheap bindings to the wooden-board bindings associated with
gothic bindings.65 These four volumes of the Summa theologica possess
wooden-board covers in the style of the gothic bindings.
The physical characteristics of the binding of these books suggest a sort
of early mass production. The size of the boards and the cover appear to
have been made in a large quantity, with measurements based on one
sample edition of each volume.66 Since the binder created the cover, also
known as a case, separately from the book, the process is known as “case
binding.”67 In general, “a case binding (sometimes called a casing) is a
hollow back binding with a visible joint, or French groove.”68 Binders
created these bindings based on a standard size, not accounting for a
variation in paper thickness or swell. As a result, in these volumes the
bindings are incredibly tight and prone to cracking. After the completion
of the text and the case, the book is affixed “by hinges or pasted-down
board papers and pressed between brass-bound boards.”69 The use of
such a binding process enabled artisans to more quickly produce cases
for the rising number of books produced in the last quarter of the
fifteenth century.
Conception Abbey’s four volumes of the Summa theologica were bound
as a unified set, possibly by an Augustinian workshop.70 The cover of each
64
J. A. Szirmai,The Archaeology of Medieval Bookbinding (Burlington, VT: Ashgate,
1999), 173.
65
Szirmai,The Archaeology of Medieval Bookbinding, 173.
66
Special thanks to Dr. Linda E. Mitchell and her expertise in bookbinding for providing
analysis of the binding and covers of each of these four volumes.
67
Laura S. Young, Bookbinding & Conservation by Hand: A Working Guide (New Castle,
DE: Oak Knoll Press, 2006), 6.
68
Young, Bookbinding & Conservation by Hand, 5.
69
Young, Bookbinding & Conservation by Hand, 6.
70
Scott Husby, “Contemporary/Gothic Bookbindings Made in Germany (with Austria,
Switzerland, and Strassburg),” in Bookbindings on Incunables in American Library
The Summa Theologica of Antonino Pierozzi : A Book History
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volume is made of brown calf over beechwood boards.71 The binding of
Volume I measures 290 x 418 x 80 cm; Volume II measures 290 x 415 x 65
cm; Volume III measures 290 x 410 x 85 cm; and Volume IV measures 285
x 414 x 72 cm. Volumes II, III, and IV each have the original brass bosses
and the remains of two clasps on the fore-edge. The original binding on
Volume I has been inexpertly repaired and the original brass clasps were
removed. Paper labels identifying each volume were added to the covers
at an unknown date, possibly at the rebinding of Volume I. Two monks
reorganized the holdings of the library at Engelberg in the seventeenth
century, the librarian P. Adelhelm Knoll (d. 1629) and Abbot Placidus
Knüttel (1630-1658).72 Wulf Arlt and Mathias Stauffacher suggest that
another fifteenth-century manuscript held in the library, Engelberg Codex
314, was rebound under the guidance of one of these two men.73 A paper
label affixed to its cover for classification purposes likely accompanied
this rebinding process.74 It is possible that the librarian or the abbot
added the paper labels to each of the four volumes of the Summa
theologica during the seventeenth century as a part of the reorganization
of Engelberg’s library.
Stamps and images decorate the covers of each of the four volumes of
the Summa theologica. Artisans utilized blind tooling to create these
images in the leather covers.75 A diamond shaped stamp, decorated in
the interior of an edged rhombus by a heraldic double eagle with a crown
above, lines the left and right edges of the cover. The online database of
stamps, the Einbanddatenbank, notes that Kyriss connected this stamp to
Nuremberg, specifically to the Nuremberg Charterhouse 1 Group.76
Collections: A Selection,
http://www.bibsocamer.org/BibSite/Husby/Huntington/HEHL%20A-722/HEHL_A722.html.
71
Information for the catalogue entry for this four volume set can be found in: P.
Sigisbert Beck, ed., Katalog der Inkunabeln in der Stiftsbibliothek Engelberg (St. Ottilien:
EOS-Verl., 1985), 45.
72
Wulf Arlt and Mathias Stauffacher, Engelberg Stiftsbibliothek Codex 314 (Switzerland:
Amadeus, 1986), 78.
73
Arlt and Stauffacher, Engelberg Stiftsbibliothek Codex 314, 78.
74
Arlt and Stauffacher, Engelberg Stiftsbibliothek Codex 314, 78.
75
Szirmai, The Archaeology of Medieval Bookbinding, 243.
76
“Einbanddatenbank,” Bibliotheken bei der Deutschen Forschungsgemeinschaft,
http://www.hist-einband.de/recherche/ebwerkz.php?rwz=b&id=103809s.
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Artisans used this stamp between 1464 and 1499, although the stamp
has not been connected to an individual patron or symbol. A row of
flower stamps of varying shapes and characters borders these stamps. A
design of vines and plants surrounding a diamond brass boss decorates
the center of each of the covers.
Similarities between book bindings of Koberger’s printed works suggest
that he used certain binderies. It is also possible some binderies operated
within the Koberger workshop. Some scholars believe that the binder
Franz Staindorffer worked in the Koberger shop, as he bound a number of
Koberger texts between 1474 and 1486.77 The covers of the four volumes
of the Summa theologica used in this study resemble the cover of a Bible
Koberger printed and Staindorffer bound in 1483.78 The bosses, clasps,
and some of the leather stamps are identical. The elaborate covers and
bindings of books associated with Staindorffer suggest that these texts
were intended for public display or for a wealthier audience.
Provenance
On fol. 2r of Volume I, centered over the text block “Monasterii
Engelbergensis” is hand written in gold, signifying the book’s original
ownership. Later ownership stamps are included on fol. 1r. One stamp in
black ink consists of a circle surrounding the words “Bibliotheka
Engelberg.” The second stamp in black ink is ovoid containing the phrase
“Bibliotheca Conception” with a cross inside.
Engelberg Abbey, Engelberg, Switzerland, http://www.klosterengelberg.ch/
Conrad, Count of Seldenburen founded the Benedictine abbey of
Engelberg in 1082, and in the twelfth century, a community of nuns was
77
Peter Parshall and Rainer Schoch, with David S. Areford, Richard S. Field, and Peter
Schmidt, Origins of European Printmaking: Fifteenth-Century Woodcuts and Their Public
(New Haven, CT: Yale University Press, 2005), 68.
78
Parshall and Schoch, Origins of European Printmaking, 68. An image of the cover of
the Bible can be found on page 69.
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added, making Engelberg a double house.79 Led by Adelhelm (abbot
1122-1131), the initial group of monks came from the Abbey of St.
Blasien in the Black Forest.80 Under the guidance of Frowin (abbot 11431178), Engelberg expanded and added a large scriptorium, and it is clear
from surviving evidence that both the female and male communities had
scriptoria.81 Abbot Frowin intentionally developed Engelberg’s school
within the context of the twelfth-century reform movement.82 Frowin's
tenure coincided with the rise of urban schools throughout Europe, and
he created an abbey school that utilized the pagan classics to teach the
liberal arts.83 The high quality of books produced in Engelberg’s male
scriptorium led to its school of writing being celebrated throughout
Europe during the twelfth century.84 The copying of texts built up the
quantity of manuscripts available to the monks, while creating an
atmosphere in which to train scribes. Frowin himself contributed to the
production of the scriptorium, copying parts of texts while personally
composing two works, De laude liberi arbitrii and Explanatio dominicae
orationis.85 Abbot Frowin passed his commitment to the scriptorium on
to two of his successors who continued to oversee the production of
illuminated manuscripts at Engelberg. Berchtold (abbot 1178-1197) and
Heinrich (abbot 1197-1223) encouraged the production of instruction
manuals that indicated how the monks were to live.86 The scriptorium at
Engelberg thrived under the guidance of these three abbots, stagnating in
production following the death of Abbot Heinrich.
79
Turck, Founding the Monasteries of Rheinau, St. Blasien, Muri, and Engelberg, 48-49,
and Susan Marti, “Engelberg,” in Medieval Germany: An Encyclopedia, ed. John M. Jeep
(New York: Garland, 2001), 204.
80
Turck, Founding the Monasteries of Rheinau, St. Blasien, Muri, and Engelberg, 53.
81
Marti, “Engelberg,” 204, and Judith Raeber, “Illuminierte Psalterien aus den
Innerschweizer Doppelklötern Muri und Engelberg vom 12. bis 14. Jahrhundert,” The
Illuminated Psalter: Studies in Content, Purpose and Placement of its Images, ed. F. O.
Büttner (Turnhout: Brepols, 2004), 223-238, plates 204-219.
82
Hugh Feiss, O.S.B., “Frowin of Engelberg: His Monastery, His Scriptorium and His
Books: Part I,” The American Benedictine Review 56 (2005): 70.
83
Feiss, “Frowin of Engelberg: Part I,” 79.
84
Turck, Founding the Monasteries of Rheinau, St. Blasien, Muri, and Engelberg, 62.
85
Hugh Feiss, O.S.B., “Frowin of Engelberg: His Monastery, His Scriptorium and His
Books: Part II,” The American Benedictine Review 56 (2005): 194-212, at 194, and Martin
Steinmann, “Die Bücher des Abtes Frowin, Ein Scriptorium in Engelberg?” Scriptorium
54, no. 1 (2000): 9-13.
86
Feiss, “Frowin of Engelberg: Part I,” 84.
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The library, archives, and treasury of the male community survived a fire
in 1729 that destroyed almost all of the abbey buildings,87 but was later
looted by French soldiers in 1798.88 The nuns had moved to nearby
Sarnen in 1615, which is why some of their books have survived.89 While
some of the male library’s medieval manuscripts have been identified by
their marks, others are known only through a list compiled by Abbot
Frowin.90 The library has since been reconstituted and now houses some
300 medieval manuscripts and 300 incunabula.91 Around forty of the
manuscripts produced under the guidance of Abbot Frowin survive today
in the Engelberg Abbey library.92 The E-Codices project digitized these
forty codices in 2011-2012, making “Frowin’s Library” digitally available.93
This collection contains works written by the early Church fathers and
also contemporary twelfth-century theological writings.
It is believed that the four volumes of Antoninus’ Summa theologica were
added to the Engelberg library soon after they were printed in 14861487, as the ownership inscription is in a fifteenth-century hand.
Koberger advertised his edition of Antoninus’ Summa theologica via a
broadside and the appearance of this book in several monastic libraries
suggests it was a regular purchase for monastic communities.94 One copy
87
Urban Hodel and Rolf De Kegel, “Engelberg (Kloster).” Historisches Lexikon der
Schweiz, http://www.hls-dhs-dss.ch/textes/d/D8557.php.
88
Alston, George Cyprian. “Abbey of Engelberg.” The Catholic Encyclopedia. Vol. 5 (New
York: Robert Appleton, 1909), accessed November 26, 2013,
http://www.newadvent.org/cathen/05429b.htm.
89
Raeber, 224-225.
90
Martin Steinmann, “Abt Frowin von Engelberg (1143-1178) und seine Handschriften,”
Der Geschichtsfreund: Mitteilungen des Historischen Vereins der fünf Orte Luzern, Uri,
Schywz, Unterwalden ob und nid dem Wald und Zug 146 (1993): 7-36.
91
Kloster Engelberg, Stiftsbibliothek, http://www.klosterengelberg.ch/kloster/stiftsbibliothek/.
92
Marti, “Engelberg,” 204.
93
E-Codices, Sub-project: Frowin’s Library, http://www.ecodices.unifr.ch/en/list/subproject/frowins_library/.
94
Christie’s sale catalogue, 28 June 1995, Sale 5424, lot 33. This copy’s hand-written
ownership inscription has been erased but it was owned by a monastery. Christie’s
Auction House, http://www.christies.com/lotfinder/lot/antoninus-florentinus-summatheologica-partes-i-iv-265760The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
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was owned by the Augustinian Canons of Rebdorf in Eichstätt and
another by a monastery at Chiemsee, likely that of the Augustinian
Canons.95
Conception Abbey, Conception, Missouri, USA,
http://www.conceptionabbey.org/
The Rare Book Room at Conception Abbey in Conception, Missouri,
currently houses the four volumes of the Summa theologica used in this
project. The volumes arrived at Conception Abbey at its foundation in
1873. Invited by Bishop Hogan from St. Joseph, Missouri, Abbot Anselm
Villiger decided to help found a Benedictine foundation in America in
1872.96 Political unrest throughout Europe affected Switzerland after the
French Revolution, encouraging the foundation of a monastery in the
United States as a possible haven for the monks.97 Two missionaries,
Father Frowin Conrad and Father Aldhelm Odermatt, departed Engelberg
Abbey on 27 April 1873.98 In Missouri, Abbot Martin Marty served as the
patron of the foundation to be built at Conception, who pushed for
extensive monetary support from Engelberg.99 Aware of the declining
situation in Switzerland, Father Frowin pressed for further support.
Recognizing that oppression of the Swiss monasteries could destroy the
priceless valuables housed there, Father Frowin suggested that Engelberg
Abbey send the valuable items in the library to Conception in order to
save them from confiscation.100 A number of items, including the Summa
details.aspx?from=salesummary&intObjectID=265760&sid=c75cd26e-2335-4194-9775309785c9b729.
95
For the Rebdorf copy, see the entry in Ilona Hubay, Incunabula Eichstätter
Bibliotheken (Wiesbaden: O. Harrassowitz, 1968), 18. The copy from Chiemsee is
available online at the Bayerische Staatsbibliothek, München, http://dfgviewer.de/show/?set[mets]=http%3A%2F%2Fdaten.digitalesammlungen.de%2F~db%2Fmets%2Fbsb00040835_mets.xml.
96
Edward E. Malone, O.S.B., Conception: A History of the First Century of the Conception
Colony, 1858-1958; A History of the First Century of Conception Abbey, 1873-1973; A
History of New Engelberg College, Conception College, and the Immaculate Conception
Seminary, 1886-1971 (Omaha: Interstate Printing, 1971), 47.
97
Malone, Conception, 47.
98
Malone, Conception, 49.
99
Malone, Conception, 50, 52.
100
Malone, Conception, 52.
The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
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theologica and other incunabula, which arrived at Conception were the
result of this request.
The Summa Theologica of Antonino Pierozzi : A Book History
Codices Occasional Papers. Number 1. April 2015
28
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